Sentences with phrase «score with sound effects»

Isolated mono track of Alex North's score with sound effects.

Isolated mono track of Leith Stevens» score with sound effects.

Isolated mono track of Monty Norman's score with sound effects.

Isolated mono track of David Amram's score with sound effects.

Isolated track of Jerry Goldsmith's score with sound effects on standard theatrical cut (Disc 1), with commentary by music producer Nick Redman, film music historian Jon Burlingame, screenwriter / film historian Lem Dobbs between cues.

Isolated mono track of Bernard Herrmann's score with sound effects.

Isolated mono track Miklos Rozsa's score with sound effects.

Isolated mono track of Ron Goodwin's score with sound effects.

Isolated mono track of Elmer Bernstein's score with sound effects.

Not exact matches

Intricately looped, layered sound design works to similar effect, swelling from ambient buzz to clattering chaos, and working in close conjunction with the rattling score by Deshe and James Masson (also the film's screenwriters).

It may be frontloaded, meaning the surround channels don't get much of a workout, but sound effects (mainly the many gunshots) and Fabio Frizzi's score (combining synthesizer and native drumbeat) are presented with a full and robust centrality.

The sound is just as impressive, keeping Steve Zaillian's dialogue clean and crisp out front, with John Williams's now - classic score and a dense thicket of sound effects balanced beautifully in the back.

A kind of low - level trickster god of indie cinema himself, Waititi lets his film go a little crazy: He's outfitted it with garish colors and costumes and set designs, some not - entirely - perfect special effects, and a synthesized Mark Mothersbaugh score that sounds like it was lifted from an early period Jean - Claude Van Damme flick.

As with the graphics, the dialogue, sound effects and musical score suit the story and gameplay perfectly and you really can't complain in both these departments.

Duournau has set up an aesthetic of European low - budget art - house film, a sense of verisimilitude, to further drive home the allegory, and this extends to the effects and sound, with a score by Jim Williams that evokes both the generic French countryside, and the ongoing discord of Justine's mental and emotional state.

Ben Salisbury and Geoff Barrow contribute to similar effect via a metallic, invasive score that climaxes with a now infamous four - note sound that unsettles and compels in almost equal measure.

Armored has a relatively bright soundscape, with a buzzing, percussive score (by John Murphy) driving lots of multi-channel sound in the high registers, not to mention copious sound effects involving metal banging on metal in a cavernous, warehouse - like environment.

The 7.1 DTS - HD track is equally as powerful, capturing the sweeping score, dialogue, and subtle sound effects with exceptional dynamic range.

The nominations will begin with the categories cinematography, costume design, film editing, makeup and hairstyling, original score, production design, animated short film, live action short film, sound editing, sound mixing, and visual effects.

Deepwater Horizon got the Oscar sound nomination with its ocean disaster effects, but this one has impact as well with its explosions and gunfire engulfing, while dialogue remains crisp and cutting, and score provides a steady dramatic presence.

But in a year when some wondered if «Star Wars» could get any major awards love, a film editing nomination — along with score, visual effects and two sound nominations — makes for a key battlefield victory.

The audio, rendered in 5.1 Dolby TrueHD, is fairly robust, if a tad monotonous, working every channel and the sub with ambient and environmental sound effects plus a generally rumbly score.

In addition, the sound effects and score are very well done, while the voice - work is as fine as can be, although I must admit, Ellen DeGeneres» voiced character of Dory becomes the «Jar Jar Binks» of the story for me, annoying with every attempt to become the comic relief.

Though a straightforward mono mix, «Thirst» has some marvelous sound design that particularly pays off during a hallucinatory «conversion» sequence of sorts, with wild sound effects by mixer Peter Fenton that beautifully intermesh with Brian May's excellent orchestral score.

Isolated mono track Brain May's score, with occasional sound effects between cues.

The DTS - HD Master Audio 5.1 works perfectly with the films score and sound effects, which gracefully drive the film along.

The next section is Music & Sound, which begins with «Designing Sound» (5:39)(SD), a standard sound design featurette that also includes three versions of the famous scene in which the toys cross the road (score - only, effects - only, and the final Sound, which begins with «Designing Sound» (5:39)(SD), a standard sound design featurette that also includes three versions of the famous scene in which the toys cross the road (score - only, effects - only, and the final Sound» (5:39)(SD), a standard sound design featurette that also includes three versions of the famous scene in which the toys cross the road (score - only, effects - only, and the final sound design featurette that also includes three versions of the famous scene in which the toys cross the road (score - only, effects - only, and the final mix).

The Dolby Digital 5.1 soundtrack is filled with loud noises — a forgettable score, various sound effects, and plenty of chatter — but it's surprisingly contained in this dull front - oriented track.

Isolated mono track of Giovanni Fusco's score with modest sound effects / Informative booklet notes by Russell Lack.

There's also footage of trips made to do research and compile sound effects; recording studio sessions with the original Japanese cast, including Yasuko Sawaguchi eating Kentucky Fried Chicken as she was providing the voiceover for Chihiro's mother eating; scoring sessions with Joe Hisaishi; and even a segment about the closing credits theme song, which was originally intended for another Ghibli production that fell through.

The dialogue is crystal clear, the sound effects are bold and epic without being overpowering, and Randy Newman's beautiful, hauntingly loving score comes across with harmonious perfection.

Dialogue is crisp and clear while being well - balanced with the sound effects and music score.

Between Joe Hisaishi's repetitive but pleasant score to wide range of sound effects, the audio envelops you with remarkable fidelity and limitless potency.

The 5.1 DTS - HD master audio also serves the film well, engaging the ears with African - flavored score, suitable needle drops, and the dialogue and sound effects that drive the comedy.

The film is so playful with its own relationship to sound, and its place within the artform — I must stress that it's not a wholly silent film, with both sound and score used to judicious thematic effect — that the audience winds up participating in the discussion.

Elsewhere, the mix does strive to put the viewer in the action — an early scene with Sam Elliott taking an overly - hot shower uses rear - channel effects to enhance the first - person POV, and a later action scene that takes place outside of the house gains tension from directional sound work after Lewis's score drops away entirely.

Part I participants include Tamahori, Kinberg, Dafoe, producer Arne L. Schmidt, Ice Cube, Sunny Mabrey, Scott Speedman, Samuel L. Jackson, Nona Gaye, production designer Gavin Bocquet, costume designer Sanja Milkovic Hayes, with Part II adding comments from technical advisors Dave Kennedy and Harry Humphries, assistant stunt coordinator Mike Gunther, fight coordinator Marcus Young, 2nd unit stunt coordinator Freddie Hice, Xzibit, score mixer Dennis Sands, composer Marco Beltrami, sound designer / re-recording mixer Christopher Boyes, Farrar, De Qattro, visual effects animation supervisor James Tooley, and visual effects associate supervisor Samir Hoon.

From the smallest sound effects to the largest sweeping scores that imbue the film with its magic, the featurette talks with all the professional sound technicians, composers, and various audio crew members who added the dynamic sound and music to the films.

The Blu - Ray's 5.1 master audio track sounds superb, with dialogue coming through as clearly as you would hope for, punctuated by occasionally beefy sound effects and James Newton Howard's interesting score which tends to downplay, if not outright contradict, the horrors of what's happening on - screen.

The track sounds good, with the balance between dialogue, sound effects and score done well so everything is able to be heard.

Sound effects amp up the laughs (an accidental poke in Vergara's D - cup may be the raciest thing in it) and they've scored with their casting.

Cohen's straight approach is also mirrored by BT's bombastic score, which follows the same potent mix of big orchestra sounds integrated with electronic sweetening and enhancement effects.

With the images, bubble animation, plus score and sound effects in 5.1, it's a nice presentation.

Splendidly rendered, The Polar Express is an often beautiful looking and sounding film experience that makes up for its familiar storyline, adapted from the illustrated story by Chris Van Allsburg, with fantastic special effects, good scoring, and a friendly voice in Tom Hanks (The Terminal, The Ladykillers), who also lends his image as the mysterious train conductor.

The sounds like most if not all Disney Blu - rays impresses with 7.1 sound and really captures the score and effects really well.

As with any Mono track, all of the audio comes from the center channel, and the mix of dialogue, mostly - present»70s score, and a few active sound effects is satisfactory and never difficult to distinguish.

Martinez notes that Refn wrote a full screenplay with dialogue and action, but instead chose to mute a majority of it making the score and sound effects drive the scenes.

The high quality audio adds a further layer of immersion with a cinematic and subtle orchestral score, suitably visceral vocalisations, and gratifying albeit violent sound effects.

This track also has a commentary with Rodriguez, where he talks about the score and the sound effects and how they influence the film.

Starting with sound effects and moving to score, the main menu (the DVD's only animated one) features the long shots of Dax walking among the troops in the trenches.